Pictures at a Revolution
Page 60
and In Cold Blood premiere
as college campus hero
crosses paths with Beatty
and death of Dr. King
directs plays on Broadway
filming The Graduate
and first screenings of The Graduate
and The Graduate cast rehearsals
introduction to The Graduate
at Jane Fonda’s 1985 Fourth of July party
and music for The Graduate
as Oscar contender
postpones The Graduate
prelude to The Graduate
and The Public Eye
sees Dustin Hoffman in play Harry Noon and Night
Tony Awards
and Warner Brothers
and Who’s Afraid of Virginia Woolf?
wins New York Film Critics Circle Best Director award for The Graduate
Nicholson, Jack
Nicholson, James
Nizer, Louis
Nobody Loves Me (play). See also Barefoot in the Park (play).
North, Alex
Nouvelle Vague
Oates, Warren
Obie Awards
O’Brien, Robert
Odets, Clifford
Old Hollywood vs. New Hollywood
Old Sentimentality vs. New Sentimentality
On a Clear Day You Can See Forever (play)
On the Beach
On the Waterfront
Oscars. See Academy Awards
O’Steen, Sam
Othello
O’Toole, Peter
Paramount
Parker, Bonnie
Parker, Emma
Parsons, Estelle
A Patch of Blue
Paulson, Albert
The Pawnbroker
Peck, Gregory
Peckinpah, Sam
Penn, Arthur
and Abe Lastfogel
after Bonnie and Clyde
agrees to Beatty’s plea to direct Bonnie and Clyde
background
at Berkshire Theatre Festival
and black and white films
and Bonnie and Clyde postproduction
and The Chase
and dailies for Bonnie and Clyde
and death of Dr. King
directs An Evening with Mike Nichols and Elaine May on Broadway
directs Wait Until Dark on Broadway
early screenings of Bonnie and Clyde
filming of Bonnie and Clyde
fired from The Train
and Golden Boy
and The Left-handed Gun
and Little Big Man
and Mickey One
at Montreal premiere of Bonnie and Clyde
nonparticipant at 1967 Academy Awards
preproduction work on Bonnie and Clyde
question of Clyde Barrow’s sexuality
rejects offers to direct Bonnie and Clyde
relationship with Beatty regarding Bonnie and Clyde
response to audience reception for Bonnie and Clyde
and rewrites for Bonnie and Clyde
view of 1960s Hollywood system
Penn, Irving
Picker, David. See also United Artists
A Place in the Sun
Planet of the Apes
Pleasence, Donald
Plummer, Christopher
Point Blank
Poitier, Sidney
and 1963 Academy Awards
as Academy Award presenter
after Guess Who’s Coming to Dinner
aftermath of 1963 Academy Award
background
and The Bedford Incident
and The Blackboard Jungle
as box-office star
critical reaction to his movie roles
and death of Dr. King
declines to play Othello
and The Defiant Ones
and Doctor Dolittle
gives New York Film Critics Circle Best Director award to Mike Nichols
and Guess Who’s Coming to Dinner
and In the Heat of the Night
at Jane Fonda’s 1965 Fourth of July party
Katharine Hepburn’s attitude toward
and Lilies of the Field
and The Long Ships
and The Lost Man
and For Love of Ivy
not nominated for 1965 Academy Awards
and A Patch of Blue
press tour for In the Heat of the Night
and Pressure Point
role in Guess Who’s Coming to Dinner
and To Sir, with Love
and The Slender Thread
Polanski, Roman
Pollack, Sydney
Pollard, Michael J.
Pozzo diBorgo, Micheline Musselli
Preminger, Otto
Prescott, Orville
Previn, André
Production Code
and Alfie
and The Americanization of Emily
background
and Blow-Up
and Bonnie and Clyde
and Calder Willingham
critical opposition to
and European films
and The Graduate
and In the Heat of the Night
and The Honey Pot
and Jack Valenti
newer, more relaxed
overhaul announced
and The Pawnbroker
and Two for the Road
and Who’s Afraid of Virginia Woolf?
Promise Her Anything
PT 109
The Public Eye (play)
Ransohoff, Martin
Rauschenberg, Robert
Rayfiel, David
Reagan, Ronald
Rebner, Meta
Redford, Robert
Reed, Rex
Reflections in a Golden Eye
Reiss, Stuart
Reisz, Karel
Renoir, Jean
Resnais, Alain
Ribman, Ronald
Richards, Beah
Richardson, Tony
Ritt, Martin
The Roar of the Greasepaint—The Smell of the Crowd
Robards, Jason Jr.
Roberts, Rachel
Rolf, Frederick
Rollin, Betty
The Roman Spring of Mrs. Stone
Rose, William
after Guess Who’s Coming to Dinner
background
and Guess Who’s Coming to Dinner
wins Best Original Screenplay Oscar for Guess Who’s Coming to Dinner
Ross, Herbert
Ross, Katharine
Rossen, Robert
Roud, Richard
Route 66 (TV show)
The Royal Hunt of the Sun (play)
Rusk, Dean
The Russians Are Coming, the Russians Are Coming
Rutherford, Margaret
The St. Valentine’s Day Massacre
Saint-Subber, Arnold
Saltzman, Harry
The Sand Pebbles
Sanford, Isabel
Sarris, Andrew
Saturday Night and Sunday Morning
Schallert, William
Schickel, Richard
Schiller, Joel
Schisgal, Murray
Schlesinger, John
Schlom, Marshall
Schmidt, Harvey
Schumach, Murray
Schwartzman, Jack
Scott, George C.
Scott, Helen
Seberg, Jean
Segal, George
Selassie, Haile
Sellers, Peter
Selznick, David
Send Me No Flowers
Sentimentality, Old vs. New
Seven Arts
7 Women
Shaffer, Peter
Shampoo
Sharpe, Karen. See Kramer, Karen
Shaw, Artie
Sheen, Martin
Ship of Fools
Shurlock, Geoffrey. See also Production Code
Silbe
rt, Bernard
Silliphant, Stirling
after In the Heat of the Night
background
and In the Heat of the Night
and The Slender Thread
wins Best Adapted Screenplay Oscar for In the Heat of the Night
work with Norman Jewison on script for In the Heat of the Night
writes screen adaptation of In the Heat of the Night
Silverstein, Elliot
Simon, John
Simon, Neil
Simon, Paul
Simon and Garfunkel
Skolsky, Sidney
Skouras, Spyros
The Slender Thread
Smith, Guy
Smith, Maggie
SNCC (Student Nonviolent Coordinating Committee)
Solo, Robert
Sondheim, Stephen
The Sound of Music
Spartacus
Spiegel, Sam
Splendor in the Grass
Springer, John
Stalmaster, Lynn
Stamp, Terence
Star!
Starr, Harrison
Steiger, Rod
as 1967 Academy Award nominee
after In the Heat of the Night
and death of Dr. King
film critic awards
and In the Heat of the Night
and The Pawnbroker
Stevens, George
Stewart, Alexandra
Stewart, Jimmy
Stradling, Harry
A Streetcar Named Desire
Streisand, Barbra
Strickling, Howard
studios, Hollywood. See also Columbia Pictures; MGM; Paramount; United Artists; Universal Studios; Warner Brothers
corporate takeovers
faith in movie musicals
product quality issues
relationship with television networks
response to success of The Graduate
Surtees, Robert
Susann, Jacqueline
Swann, Donald
Swink, Robert
Sylbert, Anthea
Sylbert, Dick
Tale of the Fox. See The Honey Pot” Talk to the Animals” (song)
The Taming of the Shrew
Tammy movies
A Taste of Honey
Tate, Sharon
Tavoularis, Dean
Taylor, Elizabeth
and Cleopatra
plays hostess to Rex Harrison and his wife
and Reflections in a Golden Eye
screen presence
sought after
and Who’s Afraid of Virginia Woolf?
Teague, Anthony “Scooter,”
This Property Is Condemned
The Thomas Crown Affair
Thompson, J. Lee
Thoroughly Modern Millie
Thunderball
To Sir, with Love
Tolan, Michael
Toland, John
Tom Jones
Torn, Rip
Towne, Robert
Tracy, Louise
Tracy, Spencer
bows out of The Cincinnati Kid
dies
and Guess Who’s Coming to Dinner
as posthumous 1967 Academy Award nominee
relationship with Katharine Hepburn
and Ship of Fools
and Stanley Kramer
The Train
Truffaut, François
black and white films
and Bonnie and Clyde
and Fahrenheit
as filmmaker
interest in Bonnie and Clyde rekindled
Jules and Jim
and Leslie Caron
Levine’s view
and New Sentimentality
recommends Bonnie and Clyde to Beatty
turns down Bonnie and Clyde
view of Warren Beatty
visits set of Mickey One
Trundy, Natalie
Turman, Lawrence
and book The Graduate
and casting of The Graduate
and The Flim-Flam Man
The Graduate financial crisis
pressured to wrap up The Graduate
search for studio and screenwriter for The Graduate
view of Embassy Pictures and Joe Levine
20th Century-Fox. See also Zanuck, Darryl F.; Zanuck, Richard
and 1963 Academy Awards
1967 Oscar contenders
and Cleopatra
and Doctor Dolittle
Fantastic Voyage
lawsuit over rights to Dolittle books
and The Longest Day
need for more Bond-like movies
as “old guard” studio
and The Sound of Music
and What a Way to Go!
Two for the Road
2001: A Space Odyssey
United Artists and Arthur Penn
and Bonnie and Clyde
and Columbia
and In the Heat of the Night
and Help!
and The Honey Pot
and James Bond series
and Lilies of the Field
and Mirisch Company
new-found interest in musicals
and Norman Jewison
response to success of The Graduate
says no to Bonnie and Clyde
and Sergio Leone movies
and To Sir, with Love
and Stanley Kramer
studio ownership question
and Truffaut
and West Side Story
and What’s New, Pussycat?
and You Only Live Twice
Universal Studios
in 1960s
1967 Oscar contenders
and Airport
and Fahrenheit
new-found interest in musicals
and Norman Jewison
and Ross Hunter
and Thoroughly Modern Millie
Ustinov, Peter
Vadim, Roger
Valenti, Jack
Valley of the Dolls
Van Dyke, Dick
Van Runkle, Theadora
A View from the Bridge (play)
Visconti, Luchino
Voight, Jon
Volpone. See The Honey Pot
Wagner, Robert F.
Wait Until Dark (movie)
Wald, Jerry
Walker, Robert Jr.
Warhol, Andy
Warner, Jack
after Bonnie and Clyde
and question of color vs. black and white
reaction to Bonnie and Clyde
and Warren Beatty
Warner Brothers
1967 Oscar contenders
and Arthur Penn
and Bonnie and Clyde
and Camelot
and Kaleidoscope
and My Fair Lady
need for more Bond-like movies
new-found interest in musicals
as “old guard” studio
response to success of The Graduate
studio ownership question
and Warren Beatty
and Who’s Afraid of Virginia Woolf?
Watkin, Larry
Wayne, John
Webb, Charles
Weld, Tuesday
Welles, Orson
Werner, Oskar
West Side Story
Wexler, Haskell
What a Way to Go!
What Ever Happened to Baby Jane?
What’s New, Pussycat?
Who’s Afraid of Virginia Woolf?
as box-office success
casting
considered one of best movies of 1966
filming
preproduction
and Production Code
Wilbourn, Phyllis
The Wild Angels
Wilde, Cornel
Wilder, Billy
Wilder, Gene
William Morris Agency. See Lastfogel, Abe
Williams, Tennessee
Will
ingham, Calder
Wilson, Elizabeth
Wilson, Scott
Winsten, Archer
Winston, Helen
Winters, Shelley
Wise, Robert
Wood, Natalie
Wright, Norton
background
famous meeting with Godard about Bonnie and Clyde
option on Bonnie and Clyde
Writers Guild
Wyler, William
Wynn, Keenan
York, Susannah
You Only Live Once (1937 film noir)
You Only Live Twice (James Bond movie)
Youngblood Hawke
You’re a Big Boy Now
Zanuck, Darryl F.
and Cleopatra
and Doctor Dolittle
as Fox head
gives major responsibility to his son
and The Longest Day
as “old Hollywood,”
Zanuck, Richard
and 1967 Fox lineup
after Doctor Dolittle
and Arthur Jacobs
assumes major responsibility from his father
and Doctor Dolittle
and Doctor Dolittle’s Oscar nomination for Best Picture
forced out of 20th Century Fox
and Leslie Bricusse
previewing Doctor Dolittle
and The Sound of Music
view of Bonnie and Clyde
Zarky, Norma
Zinberg, Leonard
Zinnemann, Fred
*Woodfall was a British production company founded by Tony Richardson and John Osborne; between 1958 and 1963, it produced Look Back in Anger, The Entertainer, Saturday Night and Sunday Morning, A Taste of Honey, The Loneliness of the Long Distance Runner, and Tom Jones.
*Ford replaced her with Anne Bancroft.
* Hal Ashby had a similar experience during production of In the Heat of the Night, when he went to see another Fox epic, John Huston’s The Bible. “Great God in Heaven,” he wrote to Norman Jewison, “I hope we never kid ourselves into trying something like that.”
* Ingmar Bergman was an admirer of Penn’s work on Bonnie and Clyde, but he disapproved of Penn’s decision to shoot in color. “There’s a sensual erotic charm in color, when properly used,” he said. “…But I think color spoils a film like Bonnie and Clyde. That was a film, if any, which ought to have been shot…in coarse-grained black-and-white tones.” At the time of his remark, Bergman had not yet shot a color movie. (Bergman, quoted in Bergman on Bergman, by Stig Björkman, Torstenn Manns, and Jonas Sima, translated by Paul Britten Austin [New York: Touchstone/Simon & Schuster, 1973], p. 227.)
* In 2007 terms, the film’s total cost would have been in the neighborhood of $190 million.
Coppola’s assistant on the movie was twenty-three-year-old film school student George Lucas, whose first film, then called THX 1133-4EB, Coppola had promised to produce if Finian’s Rainbow turned out to be a hit. “If suddenly they don’t want me,” Coppola told reporter Joseph Gelmis just before Rainbow opened, “then George has got a problem.”
* In the movie’s one famous gaffe, Benjamin is shot driving in the wrong direction on the bridge.